Рафаел у ренесанси и европској нововековној култури
Raffaello nel Rinascimento e nella cultura Europea dell’epoca moderna

2013
Authors
Brajović, Saša
Contributors
Palkovljević, TijanaTasias, Ilias
Korolija Crkvenjakov, Daniela
Kulić, Branka
Radić, Nenad
Liguori, Mario
Milosavljević, Angelina
Epifani, Rosetta
Other (Published version)
Metadata
Show full item recordAbstract
The paper examines the transitions of the cult of Rafaello Sanzio da Urbino (1483-1520) in European culture. In his own time, Raphael was considered the creator of the natural historical link between ancient Rome and Rome as created by the pope Julius II. Giorgio Vasari was the first to attribute to Raphael the aura of the divine artist who does not depend on the imitation of reality but, rather, on divine inspiration. Over time, he became synonymous of the lost painting of antiquity and of its rebirth in the Renaissance. With the foundation of the Académie Royale de peinture et de sculpture in 1648 and subsequently of other art academies, Raphael was appointed as the founder of aesthetic ideals and academic practice. In the eighteenth century, notably since the era of the Enlightenment, Raphael was praised as the encyclopedia of historical painting. Thanks to Napoleon’s ability to enhance arts for political purposes, Raphael passed from noble and elitist circuits of art theory to the ...public policy arena. In the context of the romantic historicism, Raphael's supposed melancholy character, erotic passion or, as others have argued, complete celibacy, were praised. Raphael combined sound and much loved European ideals of genius, artistic integrity, social elegance, economic success, fame and popularity. His reputation was confirmed by many of his creations, none of which was vigorous, comprehensive and lasting as the Sistine Madonna. With regard to the Sistine Madonna as a global myth of modern Europe, we can talk about the role of Classicism in totalitarian regimes, political use of art, the importance of visual culture in the formation of the contemporary European society, an the commercial use for of art works.
Keywords:
Raphael / Renaissance / academic practice / historical painting / romantic historicism / Sistine MadonnaSource:
Umanesimo e Rinascimento nelll’Appennino Centrale, Parallelli/ Humanism and Renaissance in Central Apennines. Parallels/ Хуманизам и ренесанса у централним Апенинима. Паралеле, 2013, 96-117Publisher:
- Галерија Матице српске : SIL Appennino Centrale, Нови Сад
Funding / projects:
Institution/Community
Istorija umetnosti / History of ArtTY - GEN AU - Brajović, Saša PY - 2013 UR - http://reff.f.bg.ac.rs/handle/123456789/4450 AB - The paper examines the transitions of the cult of Rafaello Sanzio da Urbino (1483-1520) in European culture. In his own time, Raphael was considered the creator of the natural historical link between ancient Rome and Rome as created by the pope Julius II. Giorgio Vasari was the first to attribute to Raphael the aura of the divine artist who does not depend on the imitation of reality but, rather, on divine inspiration. Over time, he became synonymous of the lost painting of antiquity and of its rebirth in the Renaissance. With the foundation of the Académie Royale de peinture et de sculpture in 1648 and subsequently of other art academies, Raphael was appointed as the founder of aesthetic ideals and academic practice. In the eighteenth century, notably since the era of the Enlightenment, Raphael was praised as the encyclopedia of historical painting. Thanks to Napoleon’s ability to enhance arts for political purposes, Raphael passed from noble and elitist circuits of art theory to the public policy arena. In the context of the romantic historicism, Raphael's supposed melancholy character, erotic passion or, as others have argued, complete celibacy, were praised. Raphael combined sound and much loved European ideals of genius, artistic integrity, social elegance, economic success, fame and popularity. His reputation was confirmed by many of his creations, none of which was vigorous, comprehensive and lasting as the Sistine Madonna. With regard to the Sistine Madonna as a global myth of modern Europe, we can talk about the role of Classicism in totalitarian regimes, political use of art, the importance of visual culture in the formation of the contemporary European society, an the commercial use for of art works. PB - Галерија Матице српске : SIL Appennino Centrale, Нови Сад T2 - Umanesimo e Rinascimento nelll’Appennino Centrale, Parallelli/ Humanism and Renaissance in Central Apennines. Parallels/ Хуманизам и ренесанса у централним Апенинима. Паралеле T1 - Рафаел у ренесанси и европској нововековној култури T1 - Raffaello nel Rinascimento e nella cultura Europea dell’epoca moderna T1 - Raphael in Renaissance and in Modern European Culture EP - 117 SP - 96 UR - https://hdl.handle.net/21.15107/rcub_reff_4450 ER -
@misc{ author = "Brajović, Saša", year = "2013", abstract = "The paper examines the transitions of the cult of Rafaello Sanzio da Urbino (1483-1520) in European culture. In his own time, Raphael was considered the creator of the natural historical link between ancient Rome and Rome as created by the pope Julius II. Giorgio Vasari was the first to attribute to Raphael the aura of the divine artist who does not depend on the imitation of reality but, rather, on divine inspiration. Over time, he became synonymous of the lost painting of antiquity and of its rebirth in the Renaissance. With the foundation of the Académie Royale de peinture et de sculpture in 1648 and subsequently of other art academies, Raphael was appointed as the founder of aesthetic ideals and academic practice. In the eighteenth century, notably since the era of the Enlightenment, Raphael was praised as the encyclopedia of historical painting. Thanks to Napoleon’s ability to enhance arts for political purposes, Raphael passed from noble and elitist circuits of art theory to the public policy arena. In the context of the romantic historicism, Raphael's supposed melancholy character, erotic passion or, as others have argued, complete celibacy, were praised. Raphael combined sound and much loved European ideals of genius, artistic integrity, social elegance, economic success, fame and popularity. His reputation was confirmed by many of his creations, none of which was vigorous, comprehensive and lasting as the Sistine Madonna. With regard to the Sistine Madonna as a global myth of modern Europe, we can talk about the role of Classicism in totalitarian regimes, political use of art, the importance of visual culture in the formation of the contemporary European society, an the commercial use for of art works.", publisher = "Галерија Матице српске : SIL Appennino Centrale, Нови Сад", journal = "Umanesimo e Rinascimento nelll’Appennino Centrale, Parallelli/ Humanism and Renaissance in Central Apennines. Parallels/ Хуманизам и ренесанса у централним Апенинима. Паралеле", title = "Рафаел у ренесанси и европској нововековној култури, Raffaello nel Rinascimento e nella cultura Europea dell’epoca moderna, Raphael in Renaissance and in Modern European Culture", pages = "117-96", url = "https://hdl.handle.net/21.15107/rcub_reff_4450" }
Brajović, S.. (2013). Рафаел у ренесанси и европској нововековној култури. in Umanesimo e Rinascimento nelll’Appennino Centrale, Parallelli/ Humanism and Renaissance in Central Apennines. Parallels/ Хуманизам и ренесанса у централним Апенинима. Паралеле Галерија Матице српске : SIL Appennino Centrale, Нови Сад., 96-117. https://hdl.handle.net/21.15107/rcub_reff_4450
Brajović S. Рафаел у ренесанси и европској нововековној култури. in Umanesimo e Rinascimento nelll’Appennino Centrale, Parallelli/ Humanism and Renaissance in Central Apennines. Parallels/ Хуманизам и ренесанса у централним Апенинима. Паралеле. 2013;:96-117. https://hdl.handle.net/21.15107/rcub_reff_4450 .
Brajović, Saša, "Рафаел у ренесанси и европској нововековној култури" in Umanesimo e Rinascimento nelll’Appennino Centrale, Parallelli/ Humanism and Renaissance in Central Apennines. Parallels/ Хуманизам и ренесанса у централним Апенинима. Паралеле (2013):96-117, https://hdl.handle.net/21.15107/rcub_reff_4450 .